How We've Made Marcel Even Better

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We’re always looking to improve Marcel so you can spend less time figuring out how things work, and more time focusing on getting your art out in front of the eyes of others. Here’s what we’ve been working on over the past few weeks in order to help your Marcel experience be even better.

Instagram Integration
You have your inventory on Marcel, but you haven't been able to easily promote it to your social community. Well, we've changed that by launching an Instagram integration. Now, when you click to "Share" an artwork, you have the option to post it directly to Instagram. Don't let your promotion to-do list fall by the wayside - use Marcel to keep your audience aware of what you're up to on the fly.

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Sort and Filter Your Artworks
For those of you who have uploaded a lot of artwork, you asked for different ways to sort and filter your artworks. Well, we've done just that. We've added a List view to your artworks (so you can see metadata without clicking into images), the ability to sort your artworks by name, year or recency, and filter your results based on price, status, or year range.

New FAQ Page

You asked, we listened. While we constantly strive to improve the product and the education of how to do things, we've heard consistent questions about the best ways to upload, what to do with your web gallery, how to use the Discover page, and what that Google Email integration hullabaloo actually means. To make answering your questions more expedient and helpful, we've implemented a Marcel FAQ page. Take a look around!

Uploading and sharing your art just got easier. We’re always up for hearing feedback so we can make Marcel that much easier for you to use. So go ahead and see how we’ve made Marcel the art assistant you’ve been dreaming about.

Marcel Artist Spotlight: Wesley Hicks

We love learning about the different practices of the artists in our community. Today we’re sharing an interview our CEO Mae conducted with artist Wesley Hicks. They talk earthenware, collective performance, absurd scents, botany, and aliens.

Microscope Slides, 2015

Microscope Slides, 2015

Mae Petra-Wong:You work in a vast variety of mediums. What piques my interest is these anthropomorphic structures that allude to nature and go into the technicolor dreamworld. I also saw a lot of sound work, audience participative work, immersive pieces, and journals.

What is the founding motivation of your work? What grounds your work on a daily basis?

Wesley Hicks:

I try to be multi-sensory in most of my pieces. I’m interested in sound, scent, color, texture, and even flavor. There’s a way people walk into a gallery and only use visual perception for the work, but I’m very interested in heightening and expanding that sensory experience.

I really have a material fetish. I fall in love with the materials artwork can be made of. I will learn how to work with one material and then move on to another, and another, and then eventually cycle back through those materials. That’s the reason there are so many materials-- ceramics, paper, fibers, plastics-- things to give texture-- plus many surfaces are painted. And then, these things can make noise, or be scented (my classic moves).

MPW: You studied ceramics at Cal State Long Beach and then you moved to CalArts. I looked at a work with sound experience-- unpack that piece for me.

WH: I studied two majors together at CalArts, Art and Experimental Sound Practices. For me the big thing is that art can be sound. There was something I worked on with the concept of my river rocks. The idea of the project was that I wanted to make some sort of object that really embodies the sound of a river, and perhaps can be performed as a river. I made these river rocks out of clay and they are a kind of rattle. If you shake enough at the same time the sound encompasses you and becomes a white noise, like the sound of a river.

River Rocks, 2016

River Rocks, 2016

I’m not one to keep secrets about techniques because that leads to other people not having art as cool as it can be. To make the rocks I bought many different colors of clay and wedged them together-- because real, earthly material is not uniformly put together. I did a very low fire and then sandblasted them, and then fired them to just under cone 5 for the perfect dry stone like surface.

MPW: Talk to me about the performance itself.

WH: The score calls for 100 people. Each score is a map of a place and the players flow in a group along the map like a river. Depending on where you are on the map you play the rocks differently, like natural geography-- the river may flow faster at places, be calm and slow, or it could be really rocky and turbulent. So we were a huge cluster of people and we were all shaking rocks and as we go across the geography, we change the way we’re shaking the rocks. It was like a big parade. The scores don't tell you exactly what to do, it's more of a game where there are rules and you can do whatever you want as long as you don't break a rule.


MPW: Let’s talk about the experiential work.

WH: I had originally started making musical instruments at Cal State Long Beach. I was making ocarinas-- A kind of clay flute-- and I was also helping Michael Parker work on his show Juicework. At some point he asked me to turn one of his juicers into an instrument, and the Juicerina was born. This evolved into a huge collaboration and my first large set of instruments.

Juicerina performance at The Getty Center, 2016

Juicerina performance at The Getty Center, 2016

They ended up looking like coral and sea creatures and the smaller pieces even look like drug paraphernalia!

While at Long Beach I also got a small grant for about $200 so I bought some random essential oils I was looking to get really earthy, plant-y smells. I wanted my next set of sculptures to collectively smell like a forest. When I started including scent one of the faculty members suggested I apply to CalArts.

MPW: Let’s talk about “Under Scrutiny” for a second. They have an alter-reality, natural sense to them. They’re like earth, but not planet earth. Where do these come from?


WH: A lot of the work in the show was about plants and herbarium collections. I’m a bit of an amateur botanist, I collect some bizarre plants--specifically little tiny orchids, usually no larger than 3 inches in size. The reason I’m interested in these orchids is because they break the mold of expectations of plants.  The flower often look slug-like with slime on them and they can be super over the top. The works are like species of these strange plants you didn’t know about. And it reveals that our ideas of aliens are actually modeled off of things we’ve seen on Earth.

Mounted Orchids, 2015

Mounted Orchids, 2015

MPW: Have you see Planet Earth? The blue planet deep sea episode-those figures were so evocative of what we think are in outer space. And those things that are in our imagination, actually have an origin.

WH: Exactly. When I see the flowers blooming, I get this feeling that goes up my spine. It carries a profoundness to me because it’s just existing on its own terms. These plants are not really on human scale, they are way too small, and we have to squint and look carefully to see them. Some of the flowers are as small as half a millimeter in size. When I see them I realize they are not for us at all, you can't really get that feeling with garden flowers.

MPW: What are you working on now?

WH: I’m full sail with my life being up in chaos. I haven’t had a studio since August. I’ve been working on some non-studio based projects; ones that don't take up tons of space to make. A big part is working on making flavors. They’re very simple-- imagine if you had vanilla extract, but instead of vanilla it’s like a flavor you’ve never had before. Like...California Bay, Black Spruce, or Carnation.

Scent Bell: Barn, 2016

Scent Bell: Barn, 2016

MPW: How are you seeing these play out and how should someone interact with it?

WH: A lot of the time it’s just me cooking and using these tiny little bottles of flavor and adding them to food. I’ve made about 120 different flavors. I take notes of what’s going on after I add a drop of a flavor to a cup of fizzy water, to make it into a kind of soda just so I can get an idea of what it tastes like. My favorite so far is terrasol, it is like the asphalt after it rains... it has that “after rain” smell. I find it works really well with champagne to make a  kind of mud flavored wine. It’s about finding those combinations that are unexpected and absurd but delightful.

A selection of the experimental flavors, 2019

A selection of the experimental flavors, 2019

MPW: It reminds me a little bit of Harry Potter jelly beans.

WH: It’s definitely a kind of alchemy. It's very much like the magic of the scene when they’re on the train eating the jelly beans. I often have one of those-- if only reality were like that-- moments with this project.

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Learn more about Wesley Hicks by visiting his Marcel page here.

Marcel Talks: Highlights from Lauren Marinaro

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Last week we had our second installment of MarcelTalks featuring Gallerist Lauren Marinaro. Marinaro founded her own gallery space in New York’s Lower East Side in 2017 and was previously Director of Zach Feuer Gallery for 8 years. She shows work by Ridley Howard, Johannes VanDerBeek and Jane Corrigan among others. She was previously an adjunct professor at New York University. She answered participant’s questions about the artist-gallerist relationship, how to get noticed by galleries, networking, Instagram as an artist, and a whole lot more during our Q&A. Read on to see what Lauren shared with artists.

How do I get noticed by gallerists and what are the dos and don’ts of reaching out to gallerists?

Marinaro: Instagram has been a great tool for artists to help you be seen by a large community and meet other artists. Hashtags are a good way to get yourself started in a space. I’m much more likely to look at an artist that a collector has told me about. I think you should DM artists and build relationships that way. I’ve had artists curate shows at my gallery and they have discovered other artists through networking. Even if you’re not in a major city, it’s a good way to get your work seen and out there.

Unsolicited emails to galleries can sometimes work. You must know the gallery you are submitting your art to. Don’t randomly show your work to all galleries in a specific city. Write a short message, a link to your site or instagram, and add one image. Every now and then someone might see your work. Try for younger galleries

What is the actual relationship between a gallerists and an artist?

Marinaro: The gallery represents an artist (takes care of their work, ships, holds on to archives). Galleries generally do a 50/50 split. You typically have a show every other year. The whole client base of the gallery is accessible to you and sells to their clients, art fairs, etc. Work generally sells after the show ends.

How does the slower market of art sales work for you?

Marinaro: When I’m entering into a relationship I think if it’s going to benefit me as well as the artist. Will I be able to get some notoriety for them, set up a tent for a show, etc. I always want to show the best show but if I know the show isn’t going to be huge, I try to take more risks and try something new.

How do you choose your artists?

Marinaro: I like seeing passion and innovation, dedication to their practice, different ideas and research. I really like storytelling and knowing that “it” came from somewhere.

You just came back from Frieze Art Fair. What should an artist do at an art fair?

Marinaro: Artists should NOT approach gallerists at art fairs. Each gallery pays for a booth and their goal is to make connections for the artists and make sales. It’s very important to be aware of the surroundings and if you try to engage in a long conversation, you’re taking away their opportunity to sell. An art fair is not the time to speak with a gallerist.

Is it career suicide to leave New York?

Marinaro: If you have instagram, have a network, if you come visit every few months, a lot of people won’t even realize you left. The only thing is studio visits may be different but there are alternative options. There is a possibility of NOT living in a major metropolitan area and still being successful.

What protocols should artists take if they want to show their work through multiple galleries? Is it customary for artists to split the discount?

Marinaro: I think it’s good if you’re not represented at the time to do as much as you can. If you are able to show at multiple galleries, it looks good. If you’re going to be in a group show, find out what the discount is ahead of time. Talk about your terms ahead of time. It’s playing the field and gaining exposure through many different places at once. A split is standard as this is part of the buyer-seller relationship. Normally it’s 10% but if it is above this, it’s something to discuss ahead of time so you’re not shocked if there is all of a sudden 20%.

Mae Petra-Wong: Gallerists have a lot on their plates. They’re managing multiple artists and they may forget to mention certain things. It’s important to have these business conversations so that you know what’s happening later down the line, especially when it comes to pricing and discounts. You should feel empowered to have that conversation.

Is it good for artists to have access to who collects their work through a gallery and how to get that information if a sale has been made?

Marinaro: If a gallery won’t tell you and you end up splitting with a gallery and you have none of your information, it’s important to ask for the install images, along with sales and collector information at the end of the show. You have to remember you are a sole proprietor as an artist. It’s so important to have a place like Marcel that stores all of the information you’re looking for from a piece you created and sold 10 years ago.

How important is the MFA vs a BFA and what do you look at first?

Marinaro: An MFA is not a prerequisite. I would tell people not to spend $50,000 on an MFA right now. There can be benefits. In my opinion if you want to get one so you can teach-go to Hunter or Queens College-look for the least expensive program you can so that you can teach while working on your art. I don’t necessarily look for artists with an MFA. I would show a new artist who has been in a few group shows, even if they were smaller.

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Do artists focus on making their work full-time?

Marinaro: No, most artists have other things on the side even though they are represented by galleries. It doesn’t mean you haven’t “made it” since you have other work to support yourself. You’re an artist and dedicated to what you’re making, and that blows me away.

How many images should you share with a gallery?

Marinaro: One image is more than enough.

Should an artist who is selling well with one gallery be able to help the artist sell at other galleries in different cities?

Marinaro: Yes, this is possible since the art world is a traveling circus and you see people around the world. It shouldn’t be expected, but it’s important if you’re trying to get in to other cities.

Is it realistic to think you can get into the New York art scene if you don’t live there?

Marinaro: Is it difficult-yes? Is it impossible-no. If you have a network of people from New York, it’s important to maintain the relationships you’ve already established and they can help introduce you to relevant people. All it takes is a few right meetings to turn into something bigger.

Do gallerists help artists price their works?

Marinaro: Generally there are protocols. Even your first show at my own gallery, there is a standard pricing to start. Once you go up in price, it’s hard to go back down, so I do this at a slower increase. There are a few factors including size and each gallery has their own  standard. If you are just starting to show, the price will obviously be lower.

How does the value of artwork change over time?

Marinaro: If you have a show that sold well, it means more people will continue to support. But quadrupling the price wouldn’t be the way to go. Your art will sell because of word of mouth from the buyers and people who have hung your work in their homes.

Any art fairs that we should go to or stay away from?

Marinaro: It’s personal to decide which art fairs are best for you. Basel Switzerland would be the highest level but it depends what your goals are and if you’re able to infiltrate the art market first in your own area through local galleries.


Marcel actively helps you connect with artists and share your works easily, all from within the app and on the go. Learn more about our upcoming MarcelTalks by following us on Facebook and Instagram.

Marcel Artist Spotlight: Erik Ritter

Blue Razor, 2015. Multimedia, 6 X 4 X 2 inches.

Blue Razor, 2015. Multimedia, 6 X 4 X 2 inches.

In our first Marcel Artist Spotlight, we interviewed artist Erik Ritter. We talk about Star Wars, Daniel Day Lewis, George W. Bush, and kids toys. At first glance, Ritter’s works read like futuristic machines, or vessels, or weapons, or instruments part of some oversaturated tech-heavy future. His obsession with sci-fi culture is immediately apparent. On deeper exploration, though, the viewer will see that the materiality of his work is rooted in today’s discarded trash, or what he affectionately refers to as “junk”.

Part sneaky pop culture references, part excavation of the histories captured in our castaway trash, Ritter’s work is an open-ended exploration of re-situating the discarded and awarding it with relevance. This practice is, in Ritter’s words, the pursuit of “magic.”

"It’s an Everlasting Gobstopper, Harry Potter’s forehead, and why there’s no EARTHLY way of knowing which direction we are going. It’s why there’s no place like home, the thing you fling that counts, and how it’s only a flesh wound. It’s also the reason this list could go on."



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Let’s talk about what you call "De-Junked.”

Obviously, the idea is to take whatever’s in your junk drawer, and just dropping it on the table and then starting to assemble it, putting it together. Once you’re doing that, you’re “de-junking” what’s there. I never had a clear vision of what it was going to be anyways, but I thought it was cool.

Now that’s become more of a.. what’s that woman on Netflix who has that show about cleaning up?

Marie Kondo?

So, it’s kind of become a thing now.. like cleaning up your house.

Right, but yours is a method of re-use. Hers is to de-clutter and get rid of stuff, your work is about repurposing and reusing - or I think that’s part of your intention.

Yeah, part of it.

I mean, they remind me - not formally, but conceptually, of Rauschenberg combines - where you take tossed materials and build something new with them.

Yeah, I was obviously - like everyone is - influenced by Rauschenberg. When I was at undergrad in South Dakota, we went to the Walker Center and there’s a lot of his work there.


Who were some of your other influences? There are a number of contemporary artists who are working with found objects, or directly calling it “trash” or “discarded materials.” Is that something you see yourself a part of, or separate from?

I see similarities in people, but I don’t - it’s hard for me to say "influenced by." I just feel like we’re on the same page. I’m obviously on the same page as Louise Nevelson.

Louise Nevelson.

Louise Nevelson.

Like a lot of other artists, I’m inspired by other stuff - music, and comic books. And the big one, like I say - “Star Wars ruined my life.” So, if you look at this [pulls out object] this is basically the Death Star:

Chocolate Grinder, 2016. Multimedia, 6 X 6 X 2 inches.

Chocolate Grinder, 2016. Multimedia, 6 X 6 X 2 inches.

Structurally, the parallel is so obvious.

Yeah, I didn’t even realize it, and then I was like watching Star Wars and then I realized the work was that.


So tell me about where you find these materials. I zoomed in on them, sometimes they seem to be literal pieces of cast off things you might recycle (like a tray or the top of a can), sometimes there are fidget spinner things, things that look like kids toys - and one that looked almost like a voodoo doll. So it seems to me like there’s a lot of disparate materials. Where do you source these? Where do they come from?

Well, I have two kids of my own and two step kids. So just all kinds of plastic junk just laying around, always. Part of the magic of it is -- you’re walking down the street and you see something kind of cool, and go like “whoop, that’s a piece of art” that caught my attention. So some kind of magic to it. And that goes pretty deep, how some things have no purpose but you can’t throw them away. And that’s why everyone has a junk drawer.

Also when I was trying to do the Dejunked stuff, the business model was to actually have people send me stuff and then assemble things from their junk that they found important. And I did have some people send me stuff.


That sounds sort of like a portrait. So they choose the things that they think are definitive of you and then it’s your responsibility to form it into something that represents them. What made you want to do that instead of “Erik and stuff in his studio”?

Just, spitballing stuff. Always trying things. It just seemed like a good idea, the idea that people save things and don’t really know why is a little bit fascinating. It can also get a little bit dark, like how people are pack rats and save too much stuff and too attached to objects and materialism.


Is that an Americanism?

Yeah, absolutely.



What’s the making process like? Is it very curated? I saw that you have some drawings, that look in some ways preparatory, or if they were a result of something you constructed. I guess what I’m asking is how much planning goes into these? They look pristine, they look extremely thought out, almost autoCADed objects - but there’s also this element of spontaneity which is inherent in the materials - they already exist.

So it is curated to a degree, when I collect stuff I put them in boxes and colors and shapes. I’ll have a whole box of circles, and then some lines, and squiggly lines, and then wood, and what I know I want to use. And then I start to assemble them and that’s when I turn my brain off - because if I think about it too much then it sometimes comes off as contrived, sometimes that works, but almost never. Like I have one piece that looks like a bird that I planned out and when it does happen that’s pretty cool.

I’ll start to assemble them with Bondo or hot glue or whatever I need to use. I try to use the natural color first, and if I start painting them then that option is off the table. So I try not to use color, and then when that’s over I try to stop and reset.


Is there a specific object that drives the motivation around everything else?

It can, sometimes it can be a flat board that has character to it. Or an object that’s super cool that I have to put into it. Yeah, it starts with whatever object and then I’m reacting to that.



How long do these take you?

I’ll have six of them going on at once, and I’ll get a case a beer. Or, back in the day, a couple packs of cigarettes and do the Jackson Pollock thing and just go crazy for twenty-four hours. But now that I don’t have that luxury so to speak, they’ll take anywhere from two hours to a week and I’ll continue to work on them. Sometimes I have to live with them for a few weeks, put them on the wall, and then I have to go back to it.

It’s pretty much painting or doodling with objects. Any modern painters do that. Like Picasso had masterpieces under bed because he was ashamed of them and then he’d bring them back and paint over the top of them or something like that.



Is there a need for an artist to expose his work to other people? If not forcing studio visits, forcing yourself to talk about your work? Are there people you expose your work to when it’s in the process stage? Or are you the lonely artist archetype?

Probably these days I lean more towards the hermit. Come down from the mountain and drop it off and then travel back up the mountain.

I’m fascinated by Willy Wonka and the guy who is in the factory doing his mysterious work and I do my mysterious work and drop it off afterwards. Part of the thing with their objects - part of the idea is that everyone has a different idea of what an object is to them.

For example, the sponge toothbrush - everyone has an idea of a toothbrush. Anyone who comes up to this, instinctually they have a reaction to a toothbrush and what it’s like for you to brush your teeth - I can’t compete with that. You’re going to bring your experience to a work - I don’t try to compete with that.



Let’s talk about some of the pop cultural references. Now that you say Star Wars, I’m like “oh, duh” and you say comics. What are these evocative of that I might not recognize?

I did a whole series of science fiction. In a short little way, I write music and poetry and that kind of stuff too. In a beat poetry way I’m mixing titles together. So one of the pieces here is Daniel Day Ghoulardi.

Daniel Day Ghoulardi.

Daniel Day Ghoulardi.

So - the piece reminded me of the movie There Will Be Blood. Daniel Day Lewis was in the movie, Paul Thomas Anderson was the director, his father was one of the late night vampire host, B movie kind of guys. And his name was Ghoulardi. So it’s like a really obscure inside joke to anyone that can get it. So that’s just fun for me.

And it’s fun for me to have people try and figure that out.




So, the name itself - does it translate in some visual capacity of the work - or do you like playing with titles in such a way that if you’re a pop culture person of some sort or another this gets thought of?

Yeah, that piece has a visual attachment for me. I always go back and forth about whether or not they should be titled at all because it points a finger to that too much. Some days I’m like, “nope, none of these should be titled,” and other days I’m like, “it’s fine.”


There’s another one called JTK 1138. So that’s a science fiction reference to two major movies - JTK is the initials for James T Kirk, and 1138 is THX1138, George Lucas. So, I mean you gotta be really deep in there to know that. And that’s why it’s sometimes okay for me - because it’s not too much of a hard edge, hit you over the head.

JTK 1138, 2016. Multimedia, 12 X 12 X 3 inches.

JTK 1138, 2016. Multimedia, 12 X 12 X 3 inches.

On the upper right, there’s the top of like a baby’s bottle - but now that you say it’s so evocative of a Darth Vader helmet.

Yeah, I wouldn’t have seen that but now I can never unsee that.

What are some of the other things in here?

With the smaller ones, it’s a lot of like, kids toys stuff. What can I point out. So like, that is like a doll that’s been disassembled, like the torso. And that’s how everything gets transformed, hanging off of here is a Barbie is a boot, but it gets folded up. Chicken wire in the back.

So the objects are mostly glued together? Are they affixed to a major surface?

Just whatever needs to happen, a lot of times I’ll wrap them in twine, or thread. This one looks like it started with a frame in the back. And I have to work kind of back and forth and decide which is going to be the front or back.

Have you ever constructed ones that are not meant to be seen on the wall?

A little bit, when I went to school it was for painting but I started to do some sculptural stuff. I was always hesitant to make them all one color because of Louise Nevelson but I thought it was too close. And then I had to give up and go with it and wherever it took me. It kind of came back to this white, and overall monochromatic but then bringing little bits of color back to it was part of the progression of doing the monochromatic ones. And then also doing the sculptural stuff in grad school, actual 3D stuff, helped a little bit with the wall hangings later on.

When did you write Painting with a capital “P” off as part of your practice?

In undergrad. It was out of frustration. It was just much more freeing to not have the rectangle, to go outside of that or the circle or whatever. And it was freeing. Maybe it was out of laziness too - I needed to have “IT” right now - be able to work on “IT” right now. And that’s freeing but it can also be a problem when - if I’m going too fast, things can fall apart. So I have to give the piece enough time too.

What do your kids think of these? They strike me as very playful.

They like it. It’s been going on long enough that they’re just like “oh, that’s what he does.” They’d rather play Fortnight. The latest piece actually has little doors, and hinges that open up and then there are magnets attached so you can actually interact with it and move the squares and colors around. So that’s actually the next step, to have it be more interactive.

There’s also a QR code on this piece and you can connect to the internet with your phone and then some of my music is on, so you can listen to my music while you look at it. Getting the music and the art to work together.

#WhiteNoize1, 2019. Multimedia, 28 X 28 X 5 inches.

#WhiteNoize1, 2019. Multimedia, 28 X 28 X 5 inches.

I love that you’re not afraid to mess around with new mediums. A lot of artists are so strict about what they use - they’ll listen to music all day at their studio and it was embedded with the work but viewers never get to see that.

Yeah, I think in this culture there’s becoming a cross pollination of these things. If you look at contemporary artists, if its music or other things - they’re all over the map. Even actors making their own cologne or their own brand, they’re all over the place.


Yeah, Jim Carrey is making his own paintings now.

Yeah, I’ve seen some of those paintings and some you’re like “…sure!” And others you’re like [shakes head].


I don’t know if you remember when George W Bush came out with some paintings. The formal analysis of his work was so ridiculous. Let’s not glorify this. I agree that as a historical study of him as a larger context - what the paintings meant to him - that’s interesting. But I was annoyed by the idea that he had a unique, painterly perspective - it was like, “He actually just can’t paint!”

Well, go even a little farther with that. As an object, if you go further - the provenance. Look at that considering the whole concept of who is painting it and why he painted it, I think there’s a whole exhibit right there. Get away from the formal aspect of it, I may be stealing this from someone - but it’s almost like he’s asking for forgiveness. But if we jump to the punchline here - some of the people he chooses to paint, that’s what’s interesting.


Thanks for your time, Erik.


Learn more about Erik Ritter’s work on Marcel.








Sign Up for Marcel Talks: Lauren Marinaro, May 14

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Marcel is happy to continue its MarcelTalk series with New York gallerist, Lauren Marinaro. Our open forum will be conducted on Tuesday, May 14 at 1pm EST.

Marinaro founded her own gallery space in New York’s Lower East Side in 2017 and was previously Director of Zach Feuer Gallery for 8 years. She shows work by Ridley Howard, Johannes VanDerBeek and Jane Corrigan among others. She was previously an adjunct professor at New York University.

Given Marinaro’s deep background in the commercial New York art scene for the last 11 years, we thought it appropriate to allow you - the users - to have an open Q&A forum and ask the questions that you most want answered. Marinaro is happy to speak to any questions you have, including but not limited to:

  • How to get noticed by galleries

  • How the gallerist / artist relationship actually works

  • How to choose the gallery that’s right for you

  • The importance of Instagram in the art world

  • What it’s like mounting a New York exhibition

  • What it’s like to go to an art fair (she’ll be fresh off of her Frieze London trip!)

  • How galleries, collectors and auction houses actually work

Since we want to answer the questions you most want to know the answers to, we’re accepting questions ahead of our actual webinar. You may submit them below or via email ([email protected]).

Open Call Opportunities: California & West Coast May

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Part of our job at Marcel is to find opportunities for you to enhance your professional growth as an artist, no matter where you are on your artistic journey. That’s why we’ve literally made it our responsibility to scour the web and find relevant opportunities around the world so you don’t have to.

This week we’re featuring awards and residencies throughout California that have applications open until June.

Open Call: La Silhouette Nue: the nude figure

Location: Cedar City, Utah

Who should apply: All will be accepted for consideration, including painting, drawing, photography, printmaking, ceramic, sculpture, textile, jewelry

Deadline: June 1

What you should know: La Silhouette Nue will exemplify the beauty of the human form by showcasing dimensional art and more conceptual mediums. Classical as well as more abstract interpretations in this genre are encouraged.

Exhibition Dates: November 22-December 20

Curators: Susan Harris

Apply here

Open Call: The Port Angeles Fine Arts Center-The Power of Small Things

Location: Port Angeles, Washington

Who should apply: Art of all two and three dimensional mediums will be considered

Deadline: May 31

What you should know: You’re applying for a group exhibition focused on small works exploring the impact of small things – from unexpected ripple effects, to discovering profound beauty in small moments, to embracing small changes that lead to a better world.

Cost: $10 for 3 images

Jury: Jan Dove, Steve Belz, Sarah Jane

Apply here

Open Call: EASTSIDE INTERNATIONAL

Location: Los Angeles, California

Who should apply: Artists of all mediums, preferably in the LA area

Deadline: May 31

What you should know: The theme of the show will be determined according to the works that are submitted.  The gallery will not sell works during the show.

Exhibition Dates: July 13-August 24

Cost: $25

Jury: Pilar Tompkins Rivas, Director, Vincent Price Art Museum

Apply here

Open Call: The Studio Door: PROUD+

Location: San Diego, California

Who should apply: Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, and Asexual (LGBTQIA+) artists skilled in painting, drawing, photography, printmaking, assemblage, collage, mixed media, fiber art, artist book, ceramics, stoneware, stain glass and sculpture.

Deadline: May 31

What you should know: The Studio Door is seeking artwork that expresses authentic, diverse viewpoints from the LGBTQIA+ experience.  Show us what your Pride looks like.  

Exhibition Dates: July 6-July 27

Cost: $35

Jury: Rakeem Cunningham, TAG Gallery Los Angeles Gallery Director and Visual Artist

Apply here

Open Call: Las Laguna Gallery: Unique Abstractions

Location: Laguna Beach, California

Who should apply: All local, national and international artists, professional and amateur artists practicing Acrylic, Airbrush, Assemblage, Charcoal, Color Pencil, Collage, Digital Art, Drawings, Encaustic, Fiber Art, Graphite, Illustration, Mixed Media, New Media, Oil, Painting, Pastel, Photography (Traditional and Digital), and Watercolor

Deadline: June 7

What you should know: The gallery is looking to feature abstract works in a variety of mediums. Any art sold will have a commission fee 65% to the artist and 35% to the gallery.

Exhibition Dates: July 4-July 26

Cost: $35

Apply here 

Applying for grants and residencies is easy when all of your options are in one place. Stay updated with other grants and opportunities in Europe, New York, California, and more by subscribing to our blog, checking in our feed app and following on social media.


Open Call & Residence Opportunities: Berlin May

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Part of our job at Marcel is to find opportunities for you to enhance your professional growth as an artist, no matter where you are on your artistic journey. That’s why we’ve literally made it our responsibility to scour the web and find relevant opportunities around the world so you don’t have to.

This week we’re featuring open calls and residencies throughout Berlin and Germany that have applications open through June.

Residency: PILOTENKUECHE

Location: Leipzig, Germany

Who should apply: Current rt students

Deadline: May 30

Term Dates: October-December

What you should know: The program offers direct insight into the workflow of the international residency, a chance to connect with artists and expand your personal network. You will gain experience in the field of press and public relations, curate and prepare exhibitions with other artists. This internship may also be incorporated into your university program credentials.

Apply here

 

Residency: Felini Gallery

Location: Berlin

Who should apply: painters, sculptors, photographers

Deadline: Rolling

What you should know: This is an extraordinary space where a diverse group of international artists can work, live and collaborate on work together. Long term or short-term residencies and group exhibition opportunities with the internationally renowned gallery are also available.

Cost: Starting at 20€ a day

Apply here

 

Open Call: LiTE-Haus Galerie

Location: Berlin

Who should apply: Political artists who have produced posters or imagery for rallies and demonstrations

Deadline: May 16

What you should know: With all the demonstrations happening recently in Berlin, LiTE-HAUS is honoring the creativity and open-mindedness of all those who speak up for the change they want to see in the world. The posters will be incorporated into the Offenes Neuolln lineup.

Apply here

 

Residency: Berlin Sessions

Location: Berlin

Who should apply: Artists from anywhere in the world looking for creative guidance set against the backdrop of Berlin

Deadline: ongoing

What you should know: Berlin Sessions Residency Program is a platform conceived to offer curatorial expertise, network building and logistic support in the art sector to artists and cultural professionals who are interested in gaining an insight into Berlin’s vibrant art scene.

Apply here


Applying for grants and residencies is easy when all of your options are in one place. Stay updated with other grants and opportunities in Europe, New York, California, and more by subscribing to our blog, checking in our feed app and following on social media.



Open Call Opportunities: Europe May

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Part of our job at Marcel is to find opportunities for you to enhance your professional growth as an artist, no matter where you are on your artistic journey. That’s why we’ve literally made it our responsibility to scour the web and find relevant opportunities around the world so you don’t have to.

This week we’re featuring awards and residencies throughout Europe that have applications open until June.

Residency: Fondation FIMINICO

Location: Paris, France

Who should apply: transdisciplinary visual artists of any age from across the world for a residency in research, creation, and production based in Romainville

Deadline: May 31

What you should know: The Fondation FIMINCO will host long-term residencies for up to 18 artists in several dedicated buildings located in a larger creative ecosystem. The Fondation’s facilities will also include La Chaufferie, a 1,200 m2 exhibition space set to host exhibitions and presentations by resident artists, guest artists, and partnering institutions.

Apply here

 

Residency: Malt Air

Location: Denmark

Who should apply: Professional artists from abroad (non-Danish artists) who can document exhibition experience within significant professional contexts as well as former collaborations with curators on a professional level.

Deadline: Rolling (Fall is now open)

What you should know: MALT AIR invites artists to participate in a 4-month visual arts residency programme at Maltfabrikken in Ebeltoft. The residency offers international artists the opportunity to develop new and enriching relations with the Danish visual arts scene. Studio facilities and accommodation, as well as a travel grant and a monthly stipend, are included in the programme.

 Apply here


Residency: Vila Josefina

Location: Czech Republic

Who should apply: Artists and creatives from around the world

Deadline: May 31

What you should know: Vila Josefina, Artist Retreat Czech is a place where you can take advantage of comfortable accommodation in a charming art-deco house, a fully equipped base for creating things you love, become inspired in a company of other artists, and surrounded by the magic of a nature reserve.

Cost: 3 Days starting at 140 euro

Apply here

 

Residency: Buinho: Fablab

Location: Messejana, Portugal

Who should apply: Visual arts, Sculpture, Photography

Deadline: Rolling summer

What you should know: The Creative Residencies program is an opportunity to live and work in the town of Messejana for a period of up to three months.

Cost: 150 euro/week

Apply here


Applying for grants and residencies is easy when all of your options are in one place. Stay updated with other grants and opportunities in Europe, New York, California, and more by subscribing to our blog, checking in our feed app and following on social media.



Open Calls & Awards: Canada May

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Part of our job at Marcel is to find opportunities for you to enhance your professional growth as an artist, no matter where you are on your artistic journey. That’s why we’ve literally made it our responsibility to scour the web and find relevant opportunities around the world so you don’t have to.

This week we’re featuring awards and residencies throughout Canada that have applications open until June.

Open Call: Artists’ Network Gallery Streetcar Art Exhibition

Location: Toronto

Who should apply: Artists of all mediums

Deadline: May 31

What you should know: This open call is to depict the beloved Red Rocket Streetcar. Interpretation, realism and non-representational “inspired by”, and medium are up to you. Submissions are welcome from both Artists’ Network members and non-members.

Exhibition Dates: June 11-27

Cost: $35

Apply here

 

Open Call: Salt Spring National Art Prize (SSNAP)

Location: Salt Spring Island

Award: Prizes ranging from $1000-$20,000

Who should apply: Canadian residents creating art in any medium

Deadline: May 31

What you should know: The intent of the Salt Spring National Art Prize is to encourage artists whose practice demonstrates originality, quality, integrity and creativity, resulting in significant work with visual impact and depth of meaning.  

Cost: $30

Apply here

 

Open Call: Propeller Art Gallery: Unmade

Location: Toronto

Who should apply: All mediums

Deadline: May 31

What you should know: A nudge for artists to think about materiality in a deep ecological way where land becomes objects, objects become land and land becomes human.

Exhibition Dates: June 26-July 14

Cost: $50 for 2 images

Curator: Jill Price

Apply here

 

Open Call: Society of Canadian Artists: 51st Open International Juried Exhibition

Award: Prizes from $250-$1000

Location: Toronto

Who should apply: All artists creating traditional media including painting, drawing, printmaking, sculpture and photography.

Deadline: June 7

What you should know: Art that is selected can be sold

Exhibition Dates: July 29-August 26

Cost: $50 for 2 images

Jurors: Anik Glaude, Anne Launcelott, Shannon Bingeman

Apply here

 

Open Call: The Gallery at Cove Commons

Location: Whistler

Who should apply: proposals from Bowen Island artists, and are also able to accept a limited number of off-island artists. Solo or group exhibitions may be proposed.

Deadline: May 27

What you should know: Exhibition lengths are typically 4 or 5 weeks. The Gallery charges administrative fees to the artist to help cover operating costs, and retains a commission on all sales. Exhibitions will begin in 2020

Curator: Emilie Kaplun

Apply here

Applying for grants and residencies is easy when all of your options are in one place. Stay updated with other grants and opportunities in Europe, New York, California, and more by subscribing to our blog, checking in our feed app and following on social media.

Residence Opportunities: South America May

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Part of our job at Marcel is to find opportunities for you to enhance your professional growth as an artist, no matter where you are on your artistic journey. That’s why we’ve literally made it our responsibility to scour the web and find relevant opportunities around the world so you don’t have to.

This week we’re featuring residencies throughout South America that have applications open until June.

Residency: Corazon

Location: Buenos Aires, Argentina

Who should apply: Artists of all disciplines and curators

Deadline: Rolling

What you should know: Residencia Corazón offers a complete International Artist in Residency Program (AIR) at the vibrant city of La Plata, Argentina. This residency does not provide any financial support so you will be responsible for all costs.

Apply here

 

Residency: Fundação Armando Alvares Penteado

Location: Sao Paolo, Brazil

Who should apply: Foreign and Brazilian artists

Deadline: July 31

Term: Beginning of 2020

What you should know: The programme's main aim is to serve as a temporary residency for visual artists who are seeking to research and develop a project in the city of São Paulo, working in an environment that has secured its place as one of the most prevalent schemes to offer support and incentive to the development of creative processes, particularly in the field of art.

Cost: $75 Application fee

Apply here

 

Residency: Desert 23

Location: Atacama, Chile

Who should apply: Foreign and Brazilian artists

Deadline: May 20, Rolling deadlines

Term: 3 week sessions during the summer

What you should know: This fluid, site-responsive program introduces creatives to the local ecology and culture as well as contemporary socio-political issues and historical contexts of the area, whilst presenting reciprocal benefits for local communities both socially + economically through our presence and exchange.

Cost: Financial aid is available

Apply here

  

Residency: Mahanaim

Location: Mahanaim Barichara, Colombia

Who should apply: All artists and creatives of any level

Deadline: Ongoing programs

What you should know: The Estancia is also designed for artists or art lovers, who will be able to meet the community of artists of the Artistic Ritual Circuit and receive training in various techniques if they wish.

Cost: Contact for more details

Apply here

Applying for grants and residencies is easy when all of your options are in one place. Stay updated with other grants and opportunities in Europe, New York, California, and more by subscribing to our blog, checking in our feed app and following on social media.